Classic Revisited: Gene Ammons All-Stars With Sonny Stitt (Prestige)


By Doc Wendell


The sound of Gene “Jug” Ammons’ tenor saxophone is one of the biggest, lushest, most beautifully indulgent tones to emanate from any instrument in the entire history of jazz. Like Charlie Parker, Dexter Gordon, Dizzy Gillespie, Art Blakey, Sonny Stitt, Tommy Potter and Lucky Thompson, Ammons’ creativity blossomed in the superbly adventurous orchestra of Billy Eckstine of the mid to late ’40s.


Gene Ammons

Prior to playing with the incomparable “Mr. B”, Ammons played in trumpeter King Kolax’s  band in his hometown of Chicago. After leaving Eckstein’s bandstand, Ammons enjoyed a brief stint in Wood Herman’s sax section.  In 1950 Ammons formed his tenor sax duo with Sonny Stitt.  The live performances and recordings of Ammons and Stitt swapping hard, Chicago style bebop tenor lines influenced jazz musicians everywhere. Their duels were hard yet sweet and remain an integral part of American music history.

By the mid ’50s Ammons had signed to Prestige Records. Bob Weinstock would recruit the very finest bop players of the day to jam with “Jug” in a number of different settings.  Gene Ammons All-Star Sessions With Sonny Stitt is comprised of three stellar sessions. The album kicks off with a recording date from June 16, 1955.  Ammons is joined by Art Famer on trumpet, Lou Donaldson on Alto sax, Freddie Redd on piano, Addison Farmer on bass and Kenny Clarke on drums. “Woofin’ And Tweetin'” is a 13 minute 12 bar blues bop masterpiece featuring some of the most swinging playing by Donaldson, Farmer, and Ammons.  Addison Farmer, Freddie Redd and Kenny “Klook” Clarke lay down the most beautifully clean grooves imaginable.  “Juggernaut” is based on the “I Got Rhythm” chord changes.  Lou Donaldson’s alto lines are frenetic whereas Art Farmer and Ammons take their sweet time and tell a story with each beautifully unravelling solo.


The album then goes back in time to the days of the Ammons/Stitt tenor battles of 1950.  Ammons and Stitt are accompanied by Duke Jordan on piano, Tommy Potter on bass and the legendary Count Basie alum,  Jo Jones on drums. There are three burning outtakes of Ammons’ classic “Blues Up And Down”, each one more spectacular than the last. The sound quality is a little rough and scratchy but it adds to the purity of the music. This is no-nonsense bebop performed with love and joy. Ammons and Stitt don’t really sound as if they’re competing with one another; their tenor lines compliment each other with harmonic and rhythmic precision and mastery. The heads or choruses have a big band swing feel but the improvisations are all bop.  Both renditions of “You Can Depend On Me” are uptempo barn burners that cook beyond belief.  Stitt plays mostly in the upper register of the tenor sax whereas Ammons swings right there in the middle.  “Bye Bye” from the same session date of March 5, 1955 features the addition of Billy Massey on trumpet who sounds a lot like Clark Terry.

This short compilation then jumps to October 28, 1950 with two exquisite ballads; “When I Dream Of You” and “A Lover Is Blue.”  These are without a doubt two of the most powerful ballads of that entire era. No one could tackle a ballad like “Jug” and Stitt.  Both pieces slightly resemble Charlie Parker’s mournful takes on “Embraceable You.”  This is the sound of yearning and loneliness yet there’s always a healthy dose of unadulterated ecstasy in everything Ammons and Stitt played together, even through the pain and isolation. The contrast makes the music irresistible.  The accompaniment of Junior Mance on piano, Gene Wright on bass and Wesley Landers on drums is focused and restrained.  “Stringin’ The Jug” from the same date is structurally close to “Blues Up And Down.”  Stitt and Ammons dance around each other’s tenor lines with a sound that captures the feeling of Chicago’s grittiest and coldest late night bop jam sessions.  Ammons and Stitt are joined by Billy Massey on trumpet, Al Outcalt on trombone, Charlie Bateman on piano, Gene Wright on bass and Teddy Stewart on drums for “New Blues Up And Down” which is a more aggressive take on one of Ammons’ most covered compositions.

The music on Gene Ammons All-Star Sessions With Sonny Stitt is bebop in its purest form. These are raw jam sessions where each player is free to play whatever they want in that moment without worrying about time restraints or producer suggestions. That big, bright, round “Jug” tenor tone will make you want to learn the tenor sax as will Stitt’s wonderfully intricate lines. It’s music like this that makes America great. Do not live without this classic.








































































































Classic Revisited: Max Roach + 4 (Emarcy)


By Devon “Doc” Wendell


Max Roach + 4 was recorded after tragic circumstances. In June of 1956, Clifford Brown, pianist Richie Powell and Powell’s wife Nancy were killed in a horrific car crash in Pennsylvania, ending the Clifford Brown/Max Roach Quintet forever. Prior to Brown’s and Powell’s deaths, the quintet consisted of Clifford Brown on trumpet, Sonny Rollins on tenor saxophone (Rollins replaced Harold Land in late 1955), Richie Powell on piano, George Morrow on bass an Max Roach on drums.  They were the hottest band of the “new” hard-bop era. The Clifford Brown/Max Roach Quintet never abandoned its deep bebop roots, in fact they celebrated them and took the music to new heights. The band cooked but had an unmistakable warmth that was infectious.



The death of Brown and Powell struck a huge blown to the jazz community. Roach was devastated but was still under contract with Emarcy Records and he wasn’t the kind of artist who would stop playing under any circumstances. And “Brownie” would have wanted the music to continue and grow.

Finding a “replacement” for the virtuosic Brown would not be easy but Roach knew that he could more than depend on bebop trumpet veteran and master Kenny Dorham.  Dorham had this uncanny ability to fit into any jazz setting. He played in bands with Charlie Parker, Dizzy Gillespie, Mercer Ellington, Bud Powell, The original Jazz Messengers, Thelonious Monk, Hank Mobley, Phil Woods, Joe Henderson all the way into the avant-garde era of the ’60s with players such as Eric Dolphy, John Coltrane, Cecil Taylor and Andrew Hill.  Dorham was the perfect man for the job. He had also previously recorded extensively with both Roach and Rollins.

Roach recruited Ray Bryant and Billy Wallace to fill the piano spot left by Powell and George Morrow remained the bass player for this new quintet.

On September 17, 19, and 20th of 1956 and March 20th of 1957, Max and the band went into the studio to cut Max Roach + 4 which resulted in one of the hardest swinging, slyest and funkiest bop albums ever recorded.

On tracks like George Russell’s “Ezz-Thetic”, Roach’s “Dr. Deep Free-Zee”, “Mr. X” and Cole Porter’s “Just One Of Those Things”, it’s evident that all of these trailblazers are in their prime. Sonny Rollins’ playing is hard, frenetic and imaginative, Dorham’s trumpet lines are sweet, fluid and sublimely lyrical, Ray Bryant’s piano style is restrained but tasteful whereas Billy Wallace plays a lot like Bud Powell and Art Tatum. Roach takes plenty of incredible drum solos throughout the album. He solos even more on this recording than on any of the previous Brown/Roach Quintet albums.

There had already been so many renditions of “Body And Soul” up to that point but the one on this record shows off the exquisite ballad work of both Rollins and Dorham who compliment each other perfectly.

On Dizzy Gillespie’s “Woody ‘n’ You”, the band stays true to Dizzy’s original arrangement. The highlight of the album is the dizzying, twisted and nasty reading of the Duke Ellington and Irving Mills classic “It Don’t Mean A Thing (If It Ain’t Got That Swing)”  which features some of Rollins’, Dorham’s , and Roach’s most inspired playing. The band is on fire, proving the whole point of this jazz standard.

The finest ballad on the album is a tender and original rendition of Edward Heyman and Victor Young’s “Love Letters.” Rollins, Dorham, and Wallace dive deep into the song’s melody and stretch it out beautifully, finding new harmonic ideas in the process. Dorham’s cornet work is divine.

The album closes with Ray Bryant’s original “Minor Trouble” which is a bop barn burner supreme. this is pure bebop at its best.  Something special would always occur when Sonny Rollins and Kenny Dorham would get together and blow and this is no exception.

Max Roach + 4 is an era defining album that proves that nothing can stop the power, energy, love and devotion of jazz.












Review: Lauren Adams -Somewhere Else


By Devon “Doc Wendell


The genre designated as Americana encompasses a lot. Country, bluegrass, folk, blues, and good old fashioned rock n’ roll. Lauren Adams has been a veteran of the Los Angeles Americana music scene for many decades. She’s a stellar singer, guitarist and prolific songwriter.


Adams’ new CD Somewhere Else rivals the greatest works by Emmylou Harris and Bob Dylan. Songs like “It Takes What It Takes”, the title track, “Miss You”, “Between Me And You” and “Heavy, Heavy Heart” are soulful ballads that deal with sorrow, longing, and most of all, spiritual growth.  Adams has a firm grip on reality and the struggles of love, dreams and the ability to keep moving forward despite the greatest of obstacles.


The music on Somewhere Else has a unique country/folk feel to it.  The backup band is superior, many of whom have been playing with Adams for many years such as guitarist Nick Kirgo (who co-engineered and mixed the album), the legendary Mark “Pocket” Goldberg on bass along with David Sutton, Hank Van Sickle and Dave Beyer, Debra Dobkin, drums and percussion. David Fraser and Tom Heimer appear on piano with Fraser also on accordion, Lynn Coulter and McCoy Kirgo on drums and vocals and tamborine, Luke Halpin, Mandolin and violin, Gary Stockdale, background vocals, and Grady Kinnoin, pedal steel guitar.


Adams has a warm sense of humor which is apparent on “Henry (From Saginaw Michigan)” Adams is a true story teller, which is something that’s missing from most musical genres today. Even the older “legends” have fallen back on familiar clichés or trying to tackle Sinatra but Adams has the key to that forever song, which is a rare gift. Her voice is tender and poignant and it’s obvious that these musicians have been playing together for a long time.


‘The Shoe Fits” and “Oh Marie” are real country tunes with no pop gimmicks. The recording is clean and clear. It’s refreshing to hear the real thing. Adams is no stranger to this music. At a time in which even Nashville is calling out for actual good old fashioned country music, Lauren Adams could be the music’s savior. I love that Nick Kirgo and Adams recorded this album as purely as possible.

“We Try Harder” is a rollicking, no-nonsense country rocker. Adams shares the lead vocal spot with Lynn Coulter. This is the kind of music Bonnie Raitt should be playing.

“Bayview Drive” is a sweet and sincere lullaby and one of the album’s many highlights with some truly skillful and inspirational guitar picking by Adams. The lyrics on “National Cheer Up The Lonely Day” are cynical and biting and the music is warm and soulful; the perfect dichotomy.  Any songwriter will wish they had penned this country classic. The album closes with John Anderson’s menacing “Seminole Wind.” The imagery is original, stark and beautiful and Adam’s vocals are perfect.


“Somewhere Else” is the most powerful statement in Americana music that I’ve heard in many decades. Adams is a poet and a master musician to be reckoned with. This recording is bound to make her a household name and kick open many doors. If you’re wondering what happened to true All-American country and folk music, look no further.



CD Review: Winston Byrd: Once Upon A Time Called Now (Ropeadope Records)


By Devon “Doc” Wendell


It’s not always easy for a jazz instrumentalist to truly demonstrate their versatility on a recording project. Jazz musicians often get pigeon-hold into sticking with one style and that’s what the people end up expecting throughout their career. Trumpet master, composer and arranger Winston Byrd’s debut on Ropeadope Records titled Once Upon A Time Called Now is as eclectic as you can get. It’s also relentlessly soulful, swinging, funky and a true labor of love for Byrd and his giant cast of phenomenal musicians accompanying him on this glorious project. Once Upon A Time Called Right Now was produced by Winston Byrd and Giovanni Washington Wright.

The album kicks off with the funkiest rendition of Ornette Coleman’s “Ramblin” that you’ll ever hear. This isn’t some cliche jazz-fusion funk. This is the real deal. Taiki Tsuyama’s slap bass is reminiscent of Paul Jackson’s masterful bass lines on all of those classic Herbie Hancock & The Headhunters albums with a dash of Bootsy Collins thrown in for good measure. Winston Byrd plays some of the filthiest psychedelic trumpet lines ever laid down. His use of electronic effects is tasteful an innovative. The horn arrangements are tight and burning.

Byrd’s lyricism on Andrew Lloyd Weber/Tim Rice’s “On This Night Of A Thousand Stars” is breathtaking. Here the listener gets to experience Byrd’s more traditional big-band jazz side. The same is true on Frank Loesser’s ” Brotherhood Of Man. On this piece Byrd engages in a fantastic trumpet duel with George Rabbai.  Snooky Young, Dizzy Gillespie and Roy Eldridge are definitely prevalent influences in Byrd’s playing but Byrd’s own distinct style and personality really shine through clearly on these pieces and throughout this entire album. Winston Byrd’s playing is so dynamic and imaginative. He doesn’t play in one style and has more than just one tone; not an east feat for a trumpet player.

Winston Byrd Pic


Brian O’ Rourke’s Fender Rhodes keyboard comping sets the mood on Eric Otis’ “Grandma Jo’s House.” Byrd’s syncopated and fluid muted trumpet lines paint many pictures with an endless array of colors and textures. This is the work of a true master who has done his homework, paid his dues and then some. Fritz Wise’s drumming is subtle and perfect.

Nick Rolfe’s “Borrowed Time” is delicate in its funkiness and thick in its rhythmic layering. This piece has a slight smooth-jazz groove but it breaks away from that and takes on a life of its own. The listener is taken on a most rewarding journey. Byrd’s Flugelhorn playing swings harder than life itself.

There have been many renditions of Dave Brubeck’s “Blue Rondo A La Turk” but the one on this album defies categorization. Yes, it’s jazz and yes, there are traditional components to the music but Byrd and his band explore every possibility of every chord change, harmonic structure and nuance. Byrd plays the piccolo trumpet and trombone here as well. Brubeck would have been more than proud of this phenomenal reading of one of his all-time classics.

Byrd’s mournful, vocal-like lines on Eugene Frisen’s “Anne Rising” will bring tears to your eyes. Steve Rawlin’s tender piano accompaniment is haunting and precise.

It’s just natural for Byrd to tackle Clark Terry’s “Mumbles.”  Byrd scat sings along with George Rabbai and the results are hilarious. The true spirit and humor of Clark Terry is captured perfectly.

Winston Byrd and Giovanni Washington-Wright’s original “Times” is part rock, part blues, with elements of jazz and fusion. The amazing Julian Coryell (son of Larry Coryell) sets things on fire with his blistering electric guitar solo. Winston Byrd takes the baton and tears it up without ever straying from the composition’s theme.

The other original by Byrd and Wright “Brown Eyes” is this R&B flavored lullaby with great piano work by Mark Zier. Byrd’s tone is so thick, rich and beautiful. Byrd also plays trombone, bass trombone and flugelhorn on this piece, harmonizing with himself.

The album ends on a funky note with Asa & Airreal Watkins/Adrian “Bobby” Battle’s “One Life, One Love.” This pop exploration is more proof of how versatile Winston Byrd’s tastes and skills are.

Winston Byrd’s Once Upon A Time Called Now is surely going to kick down some doors for this incredible trumpeter. I expect Winston Byrd to become a household name just as Kamasi Washington’s has in the ‘mainstream world.” Not only do you have some of the finest trumpet playing you’ll hear on the scene today, Once Upon A Time Called Now also takes you to the heart of a musician’s love for many different styles and musical genres. This is a classic for all tastes and ages. Do not miss out on this one.

Happy Birthday, George Clinton


By Devon “Doc” Wendell


July 22, 2016 may be the 75th birthday of George “Dr. Funkenstein” Clinton but the good doctor shows now signs of getting old and slowing down. He’s still out there touring with Parliament/Funkadelic, spreading funk all over the World. No one has done more for the genre of funk than George Clinton. Who else could have taken tipsy doo-wop vocal arrangements and fused them with psychedelic rock, groundbreaking electronic dance music, gospel, blues and just about any style you can think of and made it into something so timeless and irresistible? George has this ability of putting together musicians you never would have dreamed would have been able to work together much less be in the same room with one another and it always results in something magical.

George Clinton Pic

George’s concepts have always been silly and serious at the same time. Parliament’s 1978 classic The Motor Booty Affair addresses the realities of black life in America disguised as an underwater funk opera. The music is gloriously filthy and lively but the message is deeper than deep and that’s just one of hundreds of examples. Can anyone actually feel bad and judgmental when listening to Funkadelic’s “(Not Just) Knee Deep” or One Nation Under A Groove in its entirety?  I wouldn’t believe in a million years that it would be possible and you will find yourself shaking your ass in the process. P-Funk unifies people like no other music in the galaxy.

In high school, I was introduced to P-Funk and have been a hardcore funkateer ever since. I have every album by Parliament, Funkadelic, Bootsy’s Rubber Band, Parlet, Brides Of Funkentein, Eddie Hazel, Bernie Worrell, and The P-Funk Allstars ever released and then some. George Clinton’s influence gave birth to hip-hop. No artists in history has been sampled more and try to imagine how many rock bands who have used Funkadelic’s Maggot Brain and Standing On The Verge Of Getting It On as blue prints for their sound. You hear the influence of P-Funk everywhere. Parliament’s Mothership Connection and Funkentelechy Vs. The Placebo Syndrome transformed dance music forever. They are both essential albums for any collection like John Coltrane’s Giant Steps, Jimi Hendrix’s Band Of Gypsys, Miles Davis’s Kind Of Blue, and Sgt. Pepper by The Beatles.

Like Miles Davis, George refuses to become an “old relic.” He’s worked and continues to work with the most popular and innovative artists in hip-hop. George even won a Grammy for his contributions to Kendrick Lamar’s To Pimp A Butterfly this past year. There would be no Prince or The Red Hot Chili Peppers without George Clinton. George will always be out there with the youth of the World, bringing funk into the cutting edge as he’s always done.

Of course, George didn’t do it alone. The mothership is filled with essential musical contributors that make up The Parliafunkadelicment Thang such as Bernie Worrell, William “Bootsy” Collins, Garry Shider, Eddie Hazel, Billy “Bass” Nelson, Tiki Fullwood, Mallia Franklin, Michael Hampton, Walter “Junie” Morrison, Cordell “Boogie” Mosson, Tyrone Lampkin, Rodney “Skeet” Curtis,  Ray Davis, Clarence “Fuzzy” Haskins, Grady Thomas, Glenn Goins, Fred Wesley, Maceo Parker, Rick Gardner, Richard “Kush” Griffith,  Gary “Mudbone” Cooper, Jerome “Big Foot” Brailey, Dawn Silva, Lynn Mabry, Ron Ford, Ron Dunbar, Frankie “Kash” Waddy, Dewayne “Blackbyrd” McKnight, Belita Woods  Michael “Clip” Payne, Sheila Brody, Danny Bedrosian, Jerome Rodgers, Jeff Bunn, Lige Curry, Kendra Foster, Garrett Shider, Greg Thomas, Benny Cowan, Greg Boyer, Benzel Cowan and many, many more.

Happy Birthday, George Clinton and please keep serving up your one of a kind, uncut funk; the planet needs it now more than ever.



Eric B. & Rakim: Paid In Full Revisited


By Devon “Doc” Wendell


So I was born it 1975, so that makes me a “Gen- Xer”. Growing up was hard on us X-ers. The generation before ours made up of old, whiny hippies who constantly told us what music to listen to and what music not to listen to. And so it was basically The Beatles,The Stones, The Byrds, Country Joe & The Fish and a lot of music that just did not speak to my generation or surroundings. The Vietnam war was long over by the time I was in grade school and “peace and love” had run right into Wall Street by the ’80s and “Greed was good.”

This new music called “rap” or “hip-hop” was a no- no. For years I tried to figure out where the disdain towards this exciting new music came from. It wasn’t until I started working in the music industry professionally in high-school that I found out why the old rockers and folkers of my parent’s generation were so set against it. In a nutshell, hip-hop started organically and could never successfully be co-opted by the greedy, anglo, cocaine- fueled rock n’ roll industry and so they tried to destroy it. The thing is, the more my generation was told to “stay away” from hip-hop, the more we got into it because “no” is the greatest sales pitch of all.

Eric B.


I hung out with musicians all of my life, even as a kid and we listened to everything from Skip James, Sun Ra, Jimi Hendrix, Parliament/Funkadelic, and Johnny Cash, to Miles Davis, Monk, Charles Ives, Gil Scott Herron, and hip-hop. We were way more open than the boomers before us. We had to be or music would have ceased to exist after 1976.

When Eric B. & Rakim hit with their debut album Paid In Full, it changed my perception of music.They were all about their craft, period. You didn’t see them at Lakers games on TV or hanging out with movie stars. Rakim was and will always be the greatest emcee in the World. When I first listened to Paid In Full, Rakim’s rhyming abilities were akin to the way John Coltrane played the tenor and soprano saxophones. And Eric B.’s DJing skills were raw, honest, and funky as hell. It wasn’t overproduced and not a lot of PR went into it. It was one guy with a microphone and another with a turntable and they could do more with just those two things than most so-called “real musicians” could do on their instruments. The album was recorded at Marley Marl’s home studio, Power Play in New York City.

Rakim’s vocals were hard and his phrasing was so bad. It was fucking perfect and swinging. Just listen to “I Ain’t No Joke”, “Move The Crowd”, “I Know You Got Soul” and the title track and you’ll feel what the real, pre-gentrified New York was like. I hear Eric B. scratching over The J.B.’s “Pass The Peas” on “I Ain’t No Joke” and I can smell the 6 train going uptown or taste a Papaya King hot dog with extra sour kraut. It was a simpler, better time. You could actually be poor and middle class and not have to work a thousand god damn hours a week to barely scrape by. Paid In Full remains a powerful statement of black consciousness. It boasts, celebrates, and covers life as it is. There’s no fucked up PR campaign involving the Kardashians, but wait, I don’t want to come off sounding as close minded and selfishly nostalgic as my parent’s generation, so all I’ll say is, this is the real shit. No auto-tuning, just hip-hop for the sake of art and not fame, a “game changing” (I hate that fucking expression!) album for all generations who are open enough to receive it. I remember in 1993; George Clinton said to me “Rakim is like the Jimi Hendrix of the microphone”. So if you missed out on this now classic, go get it now and pass it on but don’t be a dick about it to the “youngsters.” (there I go again, shit) Just slip it to them with a copy of Kind Of Blue and see what happens.




How Bootsy Saved My Life


By Devon “Doc” Wendell


Once upon a time life was pretty bleak on my side of the globe. My teenage years were wrought with depression and anxiety problems that plagued my every move and altered my decision making. All I wanted out of life was to be a musician but I was wound way too tightly to make it out of the gate. The doctors gave me all kinds of pills and that only made my day to day existence more miserable. I played the blues on the guitar like someone three times my age because I felt the blues. Some kind of freaky, supernatural, extraterrestrial being needed to come along and shake things up and loosen me up. And one did. His name is William “Bootsy” Collins.


While in high school, a fellow musician laid it on me. He introduced me to the funkiest music I had ever experienced. This cat had a recording of a young Bootsy playing in James Brown’s band in the early ’70s. The energy was different than the pre-Bootsy Godfather Of Soul recordings I had already heard up to that point. This had a youthful energy that rivaled the power James Brown possessed which is saying a lot. Those bass lines on “Super Bad” and “Get Up I Feel Like Being A Sex Machine” leaped out of the speakers and made you shake your ass, whether you had ever shaken it before or not (I hadn’t.)

At that same time, this friend played me all of the Parliament/Funkadelic records featuring Bootsy not only playing bass, but composing, arranging, and playing both killer guitar and drums as well. Next, I was indoctrinated by the sounds of Bootsy’s Rubber Band, The Sweat Band, and all of Bootsy’s records from the ’70s, ’80s, up to that time which was 1990 . Bootsy didn’t sound like Larry Graham or James Jamerson. Some describe his tone as “liquid” “rubbery” or “elastic” but I describe it as sounding the way good sex feels. What could be better? Bootsy’s sense of syncopation and dynamics opened up an entirely new universe for bass players in all genres of music.

And so I immersed myself in all of these gloriously stanky records. I found every Bootsy recording I could get my hands on and went to see every Bootsy show in New York. Then something miraculous started to happen; the depression left me. No more thoughts of suicide or sleeping for days on in. The collective funk beauty of Bootsy, Phelps “Catfish” Collins, Frankie “Kash” Waddy, Gary “Mudbone” Cooper, Robert “P-Nut” Johnson, Joel “Razor Sharp-Sharp” Johnson, Maceo Parker, Fred Wesley, Richard “Kush” Griffith and Rick Gardner eased the pain and got this one time wallflower out dancing with pride and without a care in the world. It’s as if his music is designed to take you out of the darkness and give you a “little light under the sun.” I even went out and bought a bass and still get more work as a bass player than as a guitarist to this day, so I became a better musician too.

Of course I must also mention Dr. Funkenstein himself, George Clinton, The Woo Wizard Bernie Worrell, Garry Shider, Eddie Hazel, Michael Hampton, and all of the contributing P-Funkers who made funk music a lifestyle, culture and way of life with Bootsy as co-pilot of The Mothership. The #1 Funkateer on the planet. It’s impossible to feel unhappy or stressed out when you hear Bootsy play that signature Space Bass. Depression could have consumed me at a very early age and even taken my life but this is the true tale of how Bootsy saved my life. So as we near the 40th anniversary of the formation of Bootsy’s Rubber Band this summer, I must say thank you Bootsy and “ever funkin’ on!”